John V. Baines Movies

The British Seven Thunders was released in the US as Beasts of Marseilles. Set in 1943, the film stars Stephen Boyd and Tony Wright as escaped POWs Dave and Jim. Hiding out in Marseilles, the two protagonists battle over the affections of local gamine Lise (Anna Gaylor). When they find the time, Dave and Jim plan an elaborate breakout for the other POWs sequestered in the French port city. After an engaging opening, the film relies upon serial-like thrills and hairbreadth escapes to keep the audience awake. Stealing the show from the nominal stars are those grand old British troupers James Robertson Justice and Kathleen Harrison. ~ Hal Erickson, All Movie Guide

The recent Mau Mau uprising in Kenya served as story material for the 1955 British film Simba. White farmer Dirk Bogarde and his neighbors are targeted for extermination by the zealously nationalistic Mau Maus. Native doctor Joseph Tomelty, whose brother had earlier been killed under questionable circumstances, endeavors to help the whites escape the hordes, only to discover that his own father is the local leader of the insurrectionists. Given the cruelties of colonial rule in Africa, it is hard for any film to make the Mau Mau total villains, despite their own well-documented brutal treatment of their enemies. Simba downplays side-taking and ideology, choosing instead to concentrate on the adventure and suspense elements. ~ Hal Erickson, All Movie Guide

Released in the U.S. by Lippert Studios, I'll Get You was filmed in Britain as Escape Route. George Raft stars as Steve Rossi, an FBI man, sent to London on the trail of an international kidnapping ring. The villains specialize in abducting nuclear scientists, then smuggling them behind the Iron Curtain. Rossi's British contact is military intelligence agent Joan Miller (Sally Gray). Several false leads and red herrings later, the two agents close in on the kidnappers on the docks of the Thames. But the terrorists aren't about to give up peaceably, a fact that leads to an explosive finale. ~ Hal Erickson, All Movie Guide

Derby Day is a typically British omnibus feature, delineating the fates of several different people during a single day at the racetrack. Peter Graves (not the American actor of the same name) plays a superficial movie star who has been won in a fan-magazine raffle by housemaid Suzanne Cloutier. Michael Wilding and Anna Neagle play a pair of disconsolates who have recently lost their respective mates in a plane crash. And Googie Withers and John McCallum (who were married in real life) portray a furtive couple whose horrible secret is revealed when they head to the window to collect their winnings. Though we count at least six principle characters in Derby Day, the film was released in the US as Four Against Fate. ~ Hal Erickson, All Movie Guide

Henry Devere Stacpoole's lyrical novel The Blue Lagoon was rather chastely filmed in 1921. The 1949 remake is a tad more explicit, though it's hardly as racy as the 1980 Brooke Shields version. Two British children, Emmeline (Susan Stranks) and Michael (Peter Jones), are shipwrecked on a tropical island in the company of kindly old salt Paddy Button (Noel Purcell). Eventually, Paddy dies, leaving Emmeline and Michael, now attractively grown up and played by Jean Simmons and Donald Houston, all alone. Their relationship, more along the lines of brother and sister in their youth, blossoms into love, and then passion. Emmeline has a baby, and the two live as common-law husband and wife, content in their solitude..until.. Filmed in lush Technicolor, The Blue Lagoon was considered fairly exotic and somewhat risque back in 1949, though by current standards the film is a model of decorum. ~ Hal Erickson, All Movie Guide

Considered the greatest horror anthology film, the classic British chiller Dead of Night features five stories of supernatural terror from four different directors, yet it ultimately feels like a unified whole. The framing device is simple but unsettling, as a group of strangers find themselves inexplicably gathered at an isolated country estate, uncertain why they have come. The topic of conversation soon turns to the world of dreams and nightmares, and each guest shares a frightening event from his/her own past. Many of these tales have become famous, including Basil Dearden's opening vignette about a ghostly driver with "room for one more" in the back of his hearse. Equally eerie are Robert Hamer's look at a haunted antique mirror that gradually begins to possess its owner's soul, and Alberto Cavalcanti's ghost story about a mysterious young girl during a Christmas party. Legendary Ealing comedy director Charles Crichton lightens the mood with an amusing interlude about the spirit of a deceased golfer haunting his former partner, leaving viewers vulnerable to Cavalcanti's superb and much-imitated closing segment, about a ventriloquist (Michael Redgrave) slowly driven mad when his dummy appears to come to life. Deservedly acclaimed and highly influential, Dead of Night's episodic structure inspired an entire genre of lesser imitators. ~ Judd Blaise, All Movie Guide